I grew up at the complicated and taut interstices between the art gallery world and the avant-garde museum space.
Did you know that SoHos streets are named after Revolutionary War generals? Mercer, Wooster, Thompson, Sullivan, MacDougal, Lafayette, Crosby, and, oh yes, Greene.
We often read that art galleries are intimidating, that they do not welcome people of the wrong class or ethnicity.
After Joseph Beuys died in January 1986, my then-partner and now-husband, John Hudak, and I organized a mail art show in Philadelphia to honor his passing. It seemed the appropriate thing to do.
Late in the last decade, demographers declaimed that the majority of the worlds population exists in cities.
Years ago, when I lived in London, making my tentative forays into the art world, passing through the door to a gallery was a momentary ordeal, bedeviled by halting indecision and uncertainty about what lay beyond.
It is impossible to categorize the curious pleasure that emerges when our most complacent knowledge is challenged.
Memory cant help but lead one through the 1993 show at The New Museum, even if one was too young to be part of it.
MOTHER IS PASSING. COME AT ONCE is an enigmatically fitting title for a show that has more veils than Salomes dance.
Zaun Lee is a young, New York-based abstract painter who comes from Seoul, South Korea.
John McLaughlin was a highly influential hard-edge painter who worked in Southern California from the late 1940s through the early 70s.
Dutch historian Johan Huizingas 1938 book Homo Ludens argued that play is antecedent to and a key element of culture and is therefore a defining term of our species.
In less than two decades Jindřich tyrský (1899 1942) influenced surrealist artists and poets in his native Czechoslovakia, Paris, and around the world. A painter, poet, photographer, editor, and collagist, tyrský was an innovator of arts on both a spiritual and experimental level.
There is refreshingly little curatorial handholding in Get Off the Lawn, a wonderfully haphazard group show at the young gallery, Parade Ground. The exhibition’s press release is the Irish folksong “The Ballad of Arthur McBride,” in which the narrator rejects the efforts of British military recruiters, and instead beats them up and steals their money.
Kinetic art icon Gianni Colombo’s first solo exhibition in the United States has landed at Greene Naftali, 20 years after the artist’s death. The show focuses on Colombo’s production between 1953 and 1975, tactile and participatory works that the gallery kindly but sternly reminds us “NOT TO TOUCH” (in spite of the original intention of each piece).
This exhibition, comprising ten paintings and two works on paper culled from several private collections, affords viewers the rare, if not unique, opportunity to apprise Al Helds Alphabet paintings, made between 1961 and 1967 andthought by many in this city to be his finest work.
During an artists journey, when he or she leaves home decisively, theyre usually gone for goodbut they will always have their roots.
For his most recent series of paintings, Joe Zucker scored gypsum board, commonly known as plaster or wallboard, into a grid of quarter inch squares.
One comes away from the exhibition with a Neruda-esque sense of absence, desire, and hope.